Pope's 1723-25 Shakespear, Classical Editing, and Humanistic Reading Practices

An appetite for ambivalence: Pope studies in the twenty‐first century

“…A wealth of critical material has responded to McLaverty's thoughtful scholarship and particularly to the close attention he gives to the precise circumstances of individual publications (see also McLaverty, ; McLaverty, ; and most recently, his work on the interplay between Pope's sexual and textual ambivalence in McLaverty, ). Thus, Edmund G. C. King has revisited the eccentric typographical choices of Pope's much‐derided edition of Shakespeare to show that he was trying to erode the barrier between printed page and manuscript (, p. 10). Scott Cleary adopts a similar stance when reading the footnotes added to Windsor Forest for its 1736 republication as “signifiers of marginality,” assertions of Pope's own status as a poet necessarily “in the shade” (, pp.…”